The Riptide Trilogy is Ba Jin's masterpiece, including Home (193 1 serialized in The Times,1first published by Ming Kai Bookstore in May, 933), Spring (1first published by Ming Kai Bookstore in March, 938), and The Riptide Trilogy. Through the decline of a big family, the work reveals the collapse of the feudal system and its disadvantages; It also describes the younger generation under the agitation of revolutionary thoughts and praises their awakening and struggle.

The work is set in Chengdu, Sichuan Province under the impact of the May 4th Movement, and describes the corruption and decay of the high family. On the surface, it is a family heirloom of poetry and songs, and it is an official from generation to generation. In fact, it is a struggle between rooms in the government. At home, represented by Mr. Gao and Ke Ming, they maintained feudal etiquette, suppressed all new things and sacrificed the happiness and future of young people. The author praised the rebellious spirit of young people and criticized and criticized the evils of feudal families.

The Riptide Trilogy, represented by Home, has educated and inspired countless young people to embark on the road of revolution with its strong appeal and critical spirit. In Home, the author describes the images of many young men and women, showing their repression, resistance and struggle. The three brothers Gao Jia are the characters described by the author.

The eldest brother, Juexin, is the first important character in Home, and also the hero that the author tries to create. Influenced and poisoned by feudal system and feudal ethics, Chueh-hsin lost his rebellious spirit. He is kind, sincere and has received a new education. In his mind, there is a clear line between good and evil and right and wrong. But he didn't dare to resist, and he treated everything as "bowing his head" and "not resisting". Chueh-hsin fell in love with his cousin Qian Meifen only because two mothers quarreled at the poker table, and Qian's mother retaliated by refusing marriage, killing the relationship. Chueh-hsin did not resist. His father made an appointment with the Li family for him. He could only nod his head in obedience, and then went back to his room and cried. He didn't fight back and didn't want to fight back. He just mourned his fate. Then I got married and forgot about another girl. In this big family, anyone can take it out on Chueh-hsin. When the two younger brothers did something that upset their grandfather and uncle, they blamed Chueh-hsin and ordered him to discipline his younger brother, and he did as the elders said. If Chueh-hui took part in the student movement and was reprimanded by his grandfather, and Chueh-hui argued a few words, his grandfather called Chueh-hsin to reprimand him and asked him to look after his brother. Chueh-hui turned a blind eye to this and still wanted to go out. Chueh-hsin had no choice but to say, "As a result, I just got scolded a few more times." Chueh-hui was moved by his brother and promised not to go out for the time being. Chueh-hsin is a victim of the old morality and deserves sympathy. But at the same time he played the role of defender of the old system. His disobedience is typical of Jui-chueh's death. After her grandfather died, Mrs. Chen created a superstition that Jui-chueh's family was not allowed to have children in order to "take revenge". Although Chueh-hsin thought it was a "bolt from the blue", he accepted it calmly without a word of resistance. Despite the strong opposition of the two younger brothers, Chueh-hsin sent Jui-chueh to a hut in the suburbs outside the city, and did not dare to bear the charge of "unfilial". Jui-chueh died like this and was destroyed by feudal superstition. Chueh-hsin loves his two younger brothers very much. His personality is also very complicated. For example, Chueh-min's escape from marriage and Chueh-hui's running away from home were all secretly supported by him. Chueh-hsin takes Ba Jin's eldest brother as the prototype, and the author is full of love and sympathy for him.

Chueh-min and Chueh-hui are two rebels in the family, two humanists and two people in the Gao family who refuse to go out in a sedan chair. They accepted the May 4th democratic spirit, dared to resist the bondage of family and feudalism, had a sense of justice, and fought for democracy and freedom. On the issue of marriage, Chueh-min is not at the mercy of fate like his eldest brother, but dares to decide on his own love and marriage. Falling in love with Qin was quite bold at that time, resisting arranged marriage by escaping marriage, making grandpa yield and breaking off his engagement for him. Finally, getting personal happiness is not a tragedy like Chueh-hsin and Mei, which shows Chueh-min's rebellious spirit. Chueh-hui is braver. He participated in student movements, organized publications and publicized the spirit of the May 4th Movement. Against Big Brother's philosophy of "bowing his head" and "not resisting", in the feudal fortress of Gaos, he "has no scruples, does not harm Bo and does not compromise" and is the representative of democratic forces. Finally, he left his family, indicating a break with the decadent and reactionary family.

If we compare them, we will find that Chueh-min and Chueh-hui are quite different in character. Chueh-min is more mature and calm. For example, before and after running away from marriage, careful arrangements were made to achieve success. Chueh-hui is more intense and enthusiastic. Although there is no lack of childish performance, he is, after all, the most fighting and rebellious figure in Gaos thought. He is the second main character in his works and the representative of new ideas in his works. Compared with Chueh-hui, Chueh-min's mind is not broad enough, and his indifference to Chien-yun smacks of jealousy. Immersed in the love with Qin, I am a little indifferent to the things around me, and even the democratic movement rarely participates. Chueh-hui, on the other hand, is more enthusiastic and frank, brave in struggle and sometimes impatient, but the passion of that young man is the most precious. He has the most sense of justice and tries his best to help Chueh-min escape from marriage. Under the anger of his grandfather, the lessons of his uncle, the entreaties of his stepmother and the persuasion of his eldest brother, he remained unwavering, and finally Chueh-min won the struggle. It shows the value of Chueh-hui's personality. Chueh-hui's love affair with Ming-feng reflects one aspect of Chueh-hui's personality. The novel's description of Chueh-hui and Ming-feng's feelings is extremely delicate and true. At first, Chueh-hui saw the faces of two young girls in his mind and thought, "This is not love at all, it's just fun." He also understands that it is impossible for a girl and a young master to fall in love, and fantasizes that Wufeng will become a piano. In Chueh-hui's mind, this is just the bud of love, or he doesn't fully understand love. Later, Ming-feng poured out her feelings to him, which deeply touched him and made Chueh-hui feel Ming-feng's purity and greatness, thus giving birth to love. But after all, it was the young master's love for the girl, and Chueh-hui just buried it deeply in his heart, fearing that others would know. Or, because of his different status, Chueh-hui hasn't made up his mind yet! At this time, because Ming-feng was forced into the water, love suddenly lost. This will have a great impact on the party. He almost committed suicide and ran away from home, which is an important reason. The author describes Chueh-hui's contradiction and pain, and also bears the brand of class, showing his incompleteness in anti-feudalism.

In the novel, the author also describes several unfortunate girls; Mei died of depression, Jui-chueh was smart and miserable, and Ming-feng threw herself into the lake to express her resistance and was forced to get married. These characters have distinct personalities and left a deep impression on readers. At the same time, the author also wrote about Qin and Xu Qianru, who are the representatives of women awakened in the times. Although Qin's awakening is still in its infancy in China, it shows the power of progress after all.

In art, Home is very successful, which shows the writer's style. First of all, Home has its own characteristics in plot structure. From the whole book, there is not a consistent story. In addition to describing the student movement and mutiny as the background, the author mainly tells the love story of three young people in Gao's family. Weave the three stories together, interweave them skillfully, and make them develop intermittently to form the whole article. The love story of the three brothers in Gao's family involves four women, and the three stories are crossed. According to the plot clues, the first ten sections mainly introduce the characters, and then slowly unfold the story and push it to a climax. Take Chueh-hsin's story as an example. The sixth section introduces Chueh-hsin, saying that he married Jui-chueh and gave birth to a son, but only said that he didn't love "her". The seventh section, through the mouth of Qin, tells the story of his love with Mei, their differences, and Mei's return to the city and release. In verse 20, when the soldiers became besieged, Mei Cai appeared in Gao's home, met Chueh-hsin and developed their love entanglement. After May left Gaos thought, she put it down again. We will talk about May in the book. After her death, Chueh-hsin went to the funeral. The same is true of the love story between Chueh-min and Qin. Qin appeared earlier in the book, but their love was behind and developed slowly. It was not until Chueh-min was forced to get married by his grandfather that he took a sharp turn for the worse, describing their love positively and avoiding marriage constituted the climax of Home. The stories of Chueh-hui and Ming-feng are the same. In the intermittent progress of their love stories, other people and things are often inserted, enriching the characters and stories, and the works are not developed in a line.

If we look at the whole book, it is the beginning of the story before verse 9. When introducing several protagonists, the story begins. From 10, it is the development of the story, slowly telling the love story of young people and gradually pushing it to a climax. After the 27 th Festival, the novel reached its climax, and several events occurred one after another: Mingfeng threw herself into the lake, Chueh-min forced her marriage and abandoned her son, Mei died and Jui-chueh died. The contradiction in the book reached its climax. The last few sections are the conclusion. Chueh-min rebelled against the victory of marriage, and Chueh-hui ran away from home and took it home. Some endless stories. Leave it to the plot of spring. I don't pay much attention to structural rigor at home. Ba Jin said, "I have only one title, no plan and no story." He added: "When I try to write every few days, I only know how much I have written in the past and what I have written, and I have no plans to write anything in the future. There are only piles of life accumulation and emotional accumulation in my mind. ..... My creative method is only one: let the characters live by themselves, and the author also lives through the characters. Sometimes I think of writing one thing and writing it there, and the characters disagree, and' he' or' she' has done something else. " (about rapids) The author brings the characters to life. As their actions developed the story, the characters became vivid and real. However, there is no complete story in the book, but only some fragments of the protagonist's story to express the theme. The structure and plot arrangement of Home are influenced by China's traditional novels. Although Ba Jin himself said that he was greatly influenced by Zola and Turgenev, in fact he was greatly influenced by China's novels. The plot gap of Home is influenced by A Dream of Red Mansions, and there are even traces of imitation. Of course, the times have changed, the characters written by writers have also changed, and Ba Jin's writing style is quite different from his predecessors. He is a talented writer. He just learns from the ancients, not eats them alive.

Secondly, in the characterization, Ba Jin's main way is narration. The author unfolds and describes the characters by telling stories. In Home, the author also uses the method of psychological description to express the inner world of the characters, such as the third section describing Chueh-hui's hazy love and the 28th section describing Chueh-hui's mood after Wu Feng's suicide, all of which use the method of psychological description and achieve good artistic effects. But from the perspective of the whole book, it is more about expressing characters in storytelling. Because the story is touching, the characterization is still very successful. For example, in section 6, the original title was Big Brother (all sections in the first edition had titles, which were later deleted), and the works told the story of Chueh-hsin, all of which were narrated by the author. There is no long description of characters and scenery here, and there is also a lack of psychological portrayal. More pen and ink is narrative. For example, when Chueh-hsin got married, his father drew lots to choose Miss Li for him, engaged him and told him to prepare. The book describes it like this:

In less than half a year, the new spouse did come. Grandfather and father set up a stage at home to celebrate his wedding. The wedding is not as simple as he imagined. He is playing himself. He played for three days in a row before he got his spouse. These days, he is played like a puppet and cherished like a baby. He is neither happy nor sad. He is just tired, but he is still a little excited. However, after this trick ended and the guests dispersed, he could not forget anything and fell asleep because there was a girl he didn't know next to him. At this time, he has to play.

Chueh-hsin's timid character and his melancholy are both shown in the plain narrative. In Home, the author sometimes tells a story with a dialogue between characters, but it is also a narrative, but in a different way. In the seventh section, Mei's story is told by Chin when Chueh-min, Chueh-hui, Chin and Chin are talking. Through Qin's mouth, I told the real reason why Mei's mother refused to marry: "It turned out that one day she had an opinion with her aunt at the card table and thought she was wronged, so she took revenge on Mei's mother who refused to marry." ..... My aunt is very dissatisfied with refusing to get married. Later, the news of the engagement between the first cousin and Miss Li got out, and your first aunt was very unhappy. The two of them fell out and even broke up. "The resentment of the older generation ruined the happiness of the next generation. The story is traced back through the mouth of a third party, but it sets off Chueh-hsin's character from one side and reveals the social reasons for their love tragedy.

Being good at narration and expressing the characters' personalities in storytelling are the expressive methods of China's traditional novels. Ba Jin mastered narrative skills while learning European and American artistic techniques. In Home, the story is vivid and profound. Through a story, portray the characters and show their inner world. Ba Jin is also good at narrative scenes, such as writing New Year's Eve in 15, playing dragon lanterns in 18, and boating on a moonlit night in 19, all of which have great scenes. The author tells in an orderly way, and the narrative ability of the scene is very clever. Take the high New Year's Eve dinner record, the scene is so big and there are so many people, but it is in good order in the author's pen. First, the lords of the Gaos thought, regardless of age, solemnly worshipped God and ancestors, kowtowed and set off firecrackers, then the elders walked out, and the young masters set off fireworks and laughed. Then I wrote to the three brothers of Gao's family and paid a New Year call to my aunt. At Qin's house, I met May. In feudal families, New Year's Eve is extremely lively, and it is not easy for the author to describe this big scene so clearly and vividly. Only from this section, we can also see the author's skill.

Finally, the language of the novel is also very successful, writing its own characteristics. Ba Jin said: "I am not a calm author. I have had love and hate, sadness and longing in my life; I also have my love and hate, sadness and longing when I write. Without these, I won't write novels. " (About Home) That's quite right. His novels, especially Home, seem to lack calmness and enthusiasm, and the language is often not so subtle. After reading it, I felt relieved. When we read Home, we can feel that the author and the characters in the novel share the same fate, love and hate, and the author seems to live in it. So, what do you want to say, always get it off your chest. If you don't finish it, you will be unhappy. Language is full of emotion and strength. Take the conversation between Chueh-hui and his third brother the night before he left in verse 40. If it were any other writer, I'm afraid Chueh-hsin wouldn't say so much. At home, Chueh-hsin repeatedly told his younger brother to be careful when going out, asking him if his luggage was packed, whether he had enough clothes, whether he had enough food on the way, whether he had enough money, and telling him that the money for studying was ok. Reluctant, brotherhood is beyond words. In the novel, Ba Jin seldom comments on his characters, but enthusiastically tells their life experiences and experiences, their misfortunes and joys, and the author's love and hate, all of which are told as much as possible. The author is a friend of the people and readers in the book, and his language always carries a passion, which is exactly what young readers welcome. Therefore, Ba Jin's novels, especially Home, have been warmly welcomed by young students, which is probably related to his success in language!

The trilogy of Spring and Autumn continues the story of a wealthy family. On the basis of further exposing the evils of the feudal family system, Spring focuses on the oppression and destruction suffered by young women and the awakening of young people. The maturity of Chueh-min and Qin, and the growth of Shu-ying become the main line of the works. Autumn not only describes the decline and collapse of the Gaos, but also describes that young people are full of vitality and usher in a new spring after experiencing the autumn wind and frost. The trilogy "Riptide" focuses on the evils of the feudal patriarchal society, and reveals the historical fate of the inevitable demise of the feudal system through the epitome of the Gaos. The awakening and struggle of new people is also the historical process of social development, and the author sang a hymn for them.

Home, one of the famous novels "Riptide Trilogy".

Chueh-hsin is a mixture of old and new personalities. He accepted feudal orthodoxy, but he was also dissatisfied with the corruption of feudal families. His personality has prominent duality: he is a gloomy gentleman in the old family; When he was with young people like Chueh-hui and Chueh-min, he was also a young man who longed for a new life. Because he was burdened with the old culture, he could not extricate himself from the oppression of feudal consciousness and the pain of self-contradiction. His vision in Meilin, his lonely sigh in the moonlight outside the bridal chamber, and his lyrical expression by drinking wine when he took refuge in Meilai, bit by bit presented us with a new image of being flesh and blood, knowing customs, educated and thinking in the gas field. And it is such a character who has made many incomprehensible choices. This choice is precisely the result of careful consideration. The significance of this tragedy is even more intriguing. In fact, the result of Chueh-hsin's thinking often comes from the so-called "responsibility" of the eldest son. In this era, "responsibility" is often an invisible tool of feudal system, and its unreasonable part makes Chueh-hsin feel sad and has experienced many vicissitudes. It is also driven by this sense of responsibility. When the younger brother was about to leave this "home" and run for the light, he took out the travel expenses for the third brother to be with the dead Jui-chueh. Don't underestimate the handling of this pen, it makes Gao Juexin's whole ideological track clearly presented and makes the characters rich and unified. No wonder Jui-chueh stood up and said, "He's not like this" when the third brother denounced the elder brother for his incompetence. Anyone who knows him knows that he is the overall situation, and a man's indomitable spirit is by no means incompetent and useless. After watching the whole play, should the audience understand Chueh-hsin as well as Jui-chueh? Zhao Zhigang's performance in this play is steady, simple and vivid. Like it again! Another figure who is quite successful is Feng Ming, whose purity and beauty have always been the favorite characters in the family. However, the performance of young actor Chen Yes was not as frivolous and overly modest as some previous actors, and achieved good performance results. Her pure, unadorned expression and natural body treatment have also become a highlight of the play.

Chueh-hsin is the successor and victim of feudal system.

As a married person before the May 4th Movement, she accepted the feudal orthodoxy and took it as the principle of action. He was chosen as the successor by Ke Ming to save the fate of the Gaos. At the same time, he was also the biggest victim of the feudal system. The small opinions of both parents ruined his marriage with Mei, and the ignorant feudal superstition took the life of his beloved wife. Although the May 4th new trend of thought touched him, it was difficult for him to get rid of the shackles of feudal thought. He and Mei were childhood friends. One day, Mei's mother had an argument with Chueh-hsin's mother at the poker table, thinking that she had been wronged, and she retaliated by refusing to get married. They didn't resist and accepted it painfully. Chueh-hsin married Jui-chueh, and Mei later died of depression. The day of Jui-chueh's production is coming. This incident aroused the anxiety of Mrs. Chen, the fourth wife, the fifth wife and several maids. At first, they talked secretly behind people's backs. Later, one day, with a serious expression, Mrs. Chen officially told the Keming brothers about the "disaster of mass annihilation": when the coffin of the elder was parked at home and someone at home gave birth to a child, the maternal blood would rush to the deceased, and a lot of blood would flow out of the deceased. The only way to avoid disaster is to move the parturient out of the mansion. It's not enough to move out of the residence. The lotus of the mother can still return to her residence, so she has to move out of the city. It is not enough to go out of the city, and the city gate can't hold the lotus of the mother. We must let the mother cross the bridge. Moreover, it is not necessarily safe to do so. At the same time, the family should build a fake grave with bricks to protect the coffin, so as to avoid the "mass annihilation". The fifth wife, Shen Shi, was the first to approve of this method, and she echoed the fourth wife, Wang He. Keane didn't seem to agree at first, but after listening to Wang's explanation, he completely agreed. Ke Ming and his first wife Zhou finally agreed. Among the older generation, only the third wife Zhang said nothing. In a word, everyone decided to follow Mrs. Chen's advice. They asked Chueh-hsin to do it at once. They say grandpa's interests are above everything else. Although these words came as a bolt from the blue to Chueh-hsin, he accepted them calmly. Chueh-hsin went back to his room and told Jui-chueh about it. Jui-chueh didn't say a word of complaint. She just cried. Later, when Jui-chueh gave birth, she called him in, but feudal ideas and two doors turned him away, and Jui-chueh finally died. He finally understood that these two small doors have no power. What really took away his wife was another thing, the whole system, the whole ethics and the whole superstition. All this is on his shoulders, which has put him under pressure for many years and deprived him of his youth, happiness, future and two favorite women.

The new image of Gao Jue is Ba Jin's unique creation and discovery. This image has extremely profound typical significance. Gao Juexin is a typical tragic soul image created by Ba Jin in the history of modern literature in China. He showed the complexity, faltering and arduousness of the alternation between old and new society. Exposed the extreme decay, cruelty and hypocrisy of feudal system, feudal ethics, feudal morality and feudal culture. Gao Juexin is a victim, but also indirectly damages and destroys the people he loves. His tragic fate shows that in the anti-feudal struggle, there is no way out for compromise, reconciliation and submission, thus declaring a complete bankruptcy with all his efforts and no resistance. In 2002, in order to congratulate Ba Jin on his birthday this year 100, the national literary and art circles raised funds to shoot 20 episodes of the TV series "Home? Spring? In autumn, I asked Ba Lao, and Ba Lao said, "Don't be too bad. Chueh-hsin wants to live. "Gao Juexin in Ba Jin's ideal is charitable and temperamental, and his ideal family is warm and loving. There is an old saying in China, people will get old, but words will get better. Sincere words